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The Art of Sympathy in Fiction by Howard Sklar Pdf
Focuses on the sympathetic effects of stories, and the possible ways these feelings can contribute to what has been called the "moral imagination." This book examines the dynamics of readers' beliefs regarding fictional characters and the influence of those impressions on the emotions that readers experience.
Sympathetic Realism in Nineteenth-Century British Fiction by Rae Greiner Pdf
British realist novelists of the nineteenth century viewed sympathy not as a feeling but as a form of imaginative thinking useful in constructing their fiction. Rae Greiner proposes that sympathy is integral to the form of the classic nineteenth-century realist novel. Following the philosophy of Adam Smith, Greiner argues that sympathy does more than foster emotional identification with others; it is a way of thinking along with them. By abstracting emotions, feelings turn into detached figures of speech that may be shared. Sympathy in this way produces realism; it is the imaginative process through which the real is substantiated. In Sympathetic Realism in Nineteenth-Century British Fiction Greiner shows how this imaginative process of sympathy is written into three novelistic techniques regularly associated with nineteenth-century fiction: metonymy, free indirect discourse, and realist characterization. She explores the work of sentimentalist philosophers David Hume, Adam Smith, and Jeremy Bentham and realist novelists Jane Austen, Charles Dickens, George Eliot, Joseph Conrad, and Henry James.
Situating these representations within the context of Victorian visual culture and offering new readings of key works by Charles Dickens, Elizabeth Gaskell, Ellen Wood, George Eliot, Oscar Wilde, and Arthur Conan Doyle, Jaffe shows how mid-Victorian spectacles of social difference constructed the middle-class self and how late-Victorian narratives of feeling paved the way for the sympathetic affinities of contemporary identity politics."--BOOK JACKET.
Pity represents a combination of fear, helplessness and overwhelming agitation. It is a term which suffuses our everyday lives; it is also a dangerous term hovering between approval of sympathy and disapproval of emotional wallowing (as in 'self-pity'). This book traces an entire history of pity, as an emotion and as an element in the arts, engaging as it does so with a wealth of theoretical ideas including Freud, Derrida, Levinas and others. It begins with an 'Introduction: Distinguishing Pity', followed by chapters on the Aristotelian framework; Buddhism and pity; the pieta in the Middle Ages and Renaissance; Shakespeare on pity; Milton's pitiless Christianity; pity and charity in the early novel; Blake's views on pity; the Victorian debate, from Austen to Dickens and George Eliot; Brecht and Chekhov on pity and self-pity; 'war, and the pity of war'; Jean Rhys and Stevie Smith; pity, immigration and the colony; and finally three contemporary texts by Michel Faber, Kazuo Ishiguro and Cormac McCarthy.Features* Original treatment of the concept of pity providing detailed textual criticism and speculative argument* Wide-ranging: running from ancient Greek theory to the present day* Covers a wide variety of texts, including fiction, poetry and drama* Engages with the most recent theoretical debates about literature and the emotions
In the middle of the eighteenth century, something new made itself felt in European culture—a tone or style that came to be called the sentimental. The sentimental mode went on to shape not just literature, art, music, and cinema, but people’s very structures of feeling, their ways of doing and being. In what is sure to become a critical classic, An Archaeology of Sympathy challenges Sergei Eisenstein’s influential account of Dickens and early American film by tracing the unexpected history and intricate strategies of the sentimental mode and showing how it has been reimagined over the past three centuries. James Chandler begins with a look at Frank Capra and the Capraesque in American public life, then digs back to the eighteenth century to examine the sentimental substratum underlying Dickens and early cinema alike. With this surprising move, he reveals how literary spectatorship in the eighteenth century anticipated classic Hollywood films such as Capra’s It Happened One Night, Mr. Deeds Goes to Town, and It’s a Wonderful Life. Chandler then moves forward to romanticism and modernism—two cultural movements often seen as defined by their rejection of the sentimental—examining how authors like Mary Shelley, Joseph Conrad, James Joyce, and Virginia Woolf actually engaged with sentimental forms and themes in ways that left a mark on their work. Reaching from Laurence Sterne to the Coen brothers, An Archaeology of Sympathy casts new light on the long eighteenth century and the novelistic forebears of cinema and our modern world.
“A friend in history,” Henry David Thoreau once wrote, “looks like some premature soul.” And in the history of friendship in early America, Caleb Crain sees the soul of the nation’s literature. In a sensitive analysis that weaves together literary criticism and historical narrative, Crain describes the strong friendships between men that supported and inspired some of America’s greatest writing--the Gothic novels of Charles Brockden Brown, the essays of Ralph Waldo Emerson, and the novels of Herman Melville. He traces the genealogy of these friendships through a series of stories. A dapper English spy inspires a Quaker boy to run away from home. Three Philadelphia gentlemen conduct a romance through diaries and letters in the 1780s. Flighty teenager Charles Brockden Brown metamorphoses into a horror novelist by treating his friends as his literary guinea pigs. Emerson exchanges glances with a Harvard classmate but sacrifices his crush on the altar of literature--a decision Margaret Fuller invites him to reconsider two decades later. Throughout this engaging book, Crain demonstrates the many ways in which the struggle to commit feelings to paper informed the shape and texture of American literature.
“Packed with tension, pathos, and vitality . . . This is a potent first novel from a formidable talent.” — Minneapolis Star Tribune “The best fictional account I’ve read of the way the internet has shaped our inner lives.” — Guardian (UK) At twenty-three Alice Hare, a loner, arrives in New York with only the vaguest of plans: to find a city to call home. Instead she discovers the online profile of a Japanese writer called Mizuko Himura, whose stories blur the line between autobiography and fiction. Alice becomes infatuated with Mizuko from afar, convinced this stranger’s life holds a mirror to her own. Realities multiply as Alice closes in on her “internet twin,” staging a chance encounter and inserting herself into his orbit. When Mizuko disappears, Alice is alone and adrift again. Tortured by her silence, Alice uses the only tool at her disposal, writing herself back into Mizuko’s story, with disastrous consequences. “A smart and lyrical evocation of that murky emotional terrain between our online and offline selves.” — Vice (UK) “At once a riveting mystery and a literary tour de force, Sympathy had me spellbound from the first page to the last.” — Emily Gould, author of Friendship
The Power of Sympathy (1789) is a novel by American author William Hill Brown. Considered the first American novel, The Power of Sympathy is a work of sentimental fiction which explores the lessons of the Enlightenment on the virtues of rational thought. A story of forbidden romance, seduction, and incest, Brown’s novel is based on the real-life scandal of Perez Morton and Fanny Apthorp, a New England brother- and sister-in-law who struck up an affair that ended in suicide and infamy. Inspired by their tragedy, and hoping to write a novel which captured the need for rational education in the newly formed United States of America, Brown wrote and published The Power of Sympathy anonymously in Boston. The novel, narrated in a series of letters, is the story of Thomas Harrington. He falls for the local beauty Harriot Fawcet, initially hoping to make her his mistress. But when she rejects him, his friend Jack Worthy suggests that he attempt to court and then propose to her, which is the honorable and lawful choice. Thomas’ overly sentimental mind is persuaded by Jack’s unflinching reason, and so he decides to pursue Harriot once more. This time, he is successful, and the two eventually become engaged, but their happiness soon fades when Mrs. Eliza Holmes, a family friend of the Harringtons, reveals the true nature of Harriot’s identity. As the secrets of Mr. Harrington—Thomas’ father—are revealed, the couple are forced to choose between the morals and laws of society and the passionate love they share. The Power of Sympathy is a moving work of tragedy and romance with a pointed message about the need for education in the recently founded United States. Despite borrowing from the British and European traditions of sentimental fiction and the epistolary novel, Brown’s work is a distinctly American masterpiece worthy of our continued respect and attention. With a beautifully designed cover and professionally typeset manuscript, this edition of William Hill Brown’s The Power of Sympathy is a classic of American literature reimagined for modern readers.
Author : Scott Maria C. Scott Publisher : Edinburgh University Press Page : 336 pages File Size : 47,8 Mb Release : 2020-03-02 Category : Literary Criticism ISBN : 9781474463065
Empathy and the Strangeness of Fiction by Scott Maria C. Scott Pdf
Explores how and why narrative fiction engages empathy, including Theory of MindOffers a broad overview of current scientific work on the effects of fiction-reading on empathy, including Theory of MindProvides an original intervention in the field of literary theory, centring on the reflexive properties of the fictional strangerIncludes stand-alone close readings of three novels by important French authorsThis book studies recent psychological findings which suggest that reading fiction cultivates empathy, encouraging us to be critically reflective, suspicious readers as well as participatory, 'nave' readers. Scott draws on literary theory and close readings to argue that engagement with fictional stories also teaches us to resist uncritical forms of empathy and reminds us of the limitations of our ability to understand other people. The book treats figures of the stranger in Balzac's La Fille aux yeux d'or, Stendhal's Le Rouge et le Noir and Sand's Indiana as emblematic of the strangeness of narrative fiction, both drawing us in and keeping us at a distance.
Does empathy felt while reading fiction actually cultivate a sense of connection, leading to altruistic actions on behalf of real others? Empathy and the Novel presents a comprehensive account of the relationships among novel reading, empathy, and altruism. Drawing on psychology, narrative theory, neuroscience, literary history, philosophy, and recent scholarship in discourse processing, Keen brings together resources and challenges for the literary study of empathy and the psychological study of fiction reading. Empathy robustly enters into affective responses to fiction, yet its role in shaping the behavior of emotional readers has been debated for three centuries. Keen surveys these debates and illustrates the techniques that invite empathetic response. She argues that the perception of fictiveness increases the likelihood of readers' empathy in part by releasing them from the guarded responses necessitated by the demands of real others. Narrative empathy is a strategy and subject of contemporary novelists from around the world, writers who tacitly endorse the potential universality of human emotions when they call upon their readers' empathy. If narrative empathy is to be taken seriously, Keen suggests, then women's reading and responses to popular fiction occupy a central position in literary inquiry, and cognitive literary studies should extend its range beyond canonical novels. In short, Keen's study extends the playing field for literature practitioners, causing it to resemble more closely that wide open landscape inhabited by readers.
The Palgrave Handbook of Affect Studies and Textual Criticism by Donald R. Wehrs,Thomas Blake Pdf
This volume provides a comprehensive account of how scholarship on affect and scholarship on texts have come to inform one another over the past few decades. The result has been that explorations of how texts address, elicit, shape, and dramatize affect have become central to contemporary work in literary, film, and art criticism, as well as in critical theory, rhetoric, performance studies, and aesthetics. Guiding readers to the variety of topics, themes, interdisciplinary dialogues, and sub-disciplinary specialties that the study of interplay between affect and texts has either inaugurated or revitalized, the handbook showcases and engages the diversity of scholarly topics, approaches, and projects that thinking of affect in relation to texts and related media open up or enable. These include (but are not limited to) investigations of what attention to affect brings to established methods of studying texts—in terms of period, genre, cultural contexts, rhetoric, and individual authorship.
Does empathy felt while reading fiction actually cultivate a sense of connection, leading to altruistic actions on behalf of real others? Empathy and the Novel presents a comprehensive account of the relationships among novel reading, empathy, and altruism. Drawing on psychology, narrative theory, neuroscience, literary history, philosophy, and recent scholarship in discourse processing, Keen brings together resources and challenges for the literary study of empathy and the psychological study of fiction reading. Empathy robustly enters into affective responses to fiction, yet its role in shaping the behavior of emotional readers has been debated for three centuries. Keen surveys these debates and illustrates the techniques that invite empathetic response. She argues that the perception of fictiveness increases the likelihood of readers' empathy in part by releasing them from the guarded responses necessitated by the demands of real others. Narrative empathy is a strategy and subject of contemporary novelists from around the world, writers who tacitly endorse the potential universality of human emotions when they call upon their readers' empathy. If narrative empathy is to be taken seriously, Keen suggests, then women's reading and responses to popular fiction occupy a central position in literary inquiry, and cognitive literary studies should extend its range beyond canonical novels. In short, Keen's study extends the playing field for literature practitioners, causing it to resemble more closely that wide open landscape inhabited by readers.
